Life in contemporary China, through the lens of a police procedural
This novel merits attention not only because it is excellent, but also because it is groundbreaking. As far as I know, it is the first English-language police procedural set in contemporary China written by a Chinese author. Of course, I would love to be proven wrong on this since it would mean that there was other material out there to read. To my knowledge, most previous mysteries and thrillers set in China have been by Western authors. The most famous are probably van Gulik's Judge Dee mysteries. Unfortunately, more recently we have suffered from inane thrillers in which a Western protagonist becomes entangled in some sort of incomprehensible and fundamentally absurd political intrigue, confronts a series of diabolical but paper-thin villains, and receives assistance from some sort of beautiful and exotic love interest. Finally, with Red Heroine, we have a detective novel written by an insider with Chinese protagonists, Chinese villains, and only incidental roles for Westerners. I hope very much this is the beginning of a trend. Now for my discussion of the novel itself. It worked well on three levels. First of all, it was the sort of slow-paced, atmospheric police procedural that I like the most. In many ways, it reminds me de Wetering's Grijpstra and de Gier series, Mankell's Kurt Wallander novels, or Sjowall and Wahloo's Martin Beck novels. It uses a criminal case and the accompanying investigation as a lens through which to view contemporary society. The pace is leisurely, it provides a very strong sense of place, and has nicely realized, complex, and mostly authentic characters. So if you like reading about Grijpstra and de Gier, Wallender, or Beck, you will like this book. Second, I thought it was an excellent and very authentic portrait of life in urban China in the 1990s. The author takes advantage of the possibilities offered by the narrative form of the procedural to introduce characters from many different walks of life and show how they have been affected by the turbulence of previous decades and by the uncertainty created by the rapid economic and political change of the 1990s. Generational conflicts, economic and social clevages, and political change all play a role. The portrait of life is so complete that I am weighing the possibility of assigning the novel when I teach my class on Chinese society next year. The book's focus on the details of everyday life sets it apart from much of the other English-language fiction about China that seems to focus so much on the exotic. Third, I really appreciated the quality of the prose. Reflecting perhaps the author's background in literature, the imagery was often very evocative. I have spent a fair amount of time in China, and the author's descriptions of people's homes, restaurants, typical street scenes, and so forth all really resonated. The novel is not perfect, reflecting perhaps the fact that it is the author's first published detective novel. I would like to have seen more of the intricate details of police work that help 'authenticate' procedurals. While interviewing and the gathering of forensic evidence was handled adequately, there were one or two places where the description fell flat. For example, on a couple of occasions when a character needs to go somewhere without being followed, the author simply states that the character 'made sure he wans't being followed.' This is a marked difference from, for example, Wahloo and Sjowall's 'The Man Who Went Up in Smoke' where we get ample details of Martin Beck's attempts to evade surveillance while in Budapest. In this particular case, I was completely mystified as to how anyone in China who knew they the subject of special attention from the government could 'make sure they weren't being followed.' Another very minor quibble I had was that the romanization of some of the names seemed problematic. A historical character named Liu Xiahui (the Liu Xiahui of 'Zuo huai bu luan'
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